Formas e função do discurso do outro no gênero monográfico

The present work investigates related discourse in rewriting discursive practices, at monographic works specifically at the theoretical foundation section. Focalizing some discursive strategies of voice management (direct and indirect discourse and modalization voice) we detach the introduction way and function of cited discourse. To do so, it were analyzed eighteen monographic works: nine of them final graduation works and other nine specialization works seeing that each works belonging to the same student, in two different stages, in the period from 2003 in graduation conclusion to 2005 in the end of specialization course. The data reveal that the monographic writer/student emphasizes the use of direct discourse in graduation works while in specialization works there was an emphasis at indirect speech. The analysis the way they introduce cited discourse pointed out that writer/student in graduation course such as specialization student make meaningless constructions when they do not use discendi verbs, they demonstrate difficulties inarticulate citing discourse with cited discourse. In what is related to functions of cited discourse we verify that the student/writer, in both stages or levels give emphasis to the function maintain an assertion, indicating that other s discourse serve mainly as a resource of authority just because that this function reveals the absence of a dialog between student writing and cited discourse. In a general way, the forms of other s discourse claim a form of writing that is found starting from a sequence of cited discourse in what student/writer voice in graduation and specialization comes to text surface just few times, but most of the times, the student takes other s words as they were themselves, every time there is an overlap of author/source

Murilo Rubião: enlaces eróticos, fantásticos e absurdos

The present research intends to propose a reading in a new dimension of the fantastic (weird) literature and, especially, of its Brazilian more representative author, Murilo Rubião. At the beginning with concepts and associations with the erotic, starting from the myth of Eros and Psique and developing relations with Georges Bataille's theory on the theme. Afterwards, other associations are made, now with relation to the own fantastic literature. With the essence of this literature, examples of the traditional close to the contemporary. A last, association is made with the absurd literature. The contemporary man as being object and its configuration represented in the field of the dreams and its possibilities. At the end of the work, a "post scriptum" suggests a more imersive reading of tales in the entire that appeared broken into fragments along the research

À luz das inquietas sombras: a criatividade da melancolia na linguagem de Dom Casmurro

Qué se piensa aquí, esencialmente, está a mapear el itinerario de la melancolía creativa en el discurso de Dom Casmurro; es decir, aquél de el cual el valle narrativo de una sensación de la angustia a alçar él él las maneras de la representación en el discurso de Dom Casmurro. El árbol básico en el cual éste estimaba incurre en se basa en el acuerdo de eso que la actual melancolía en el texto del machadiano se puede analizar por las estratagemas de la lengua creativa en la intención de demostrar en él una especie del espacio virtual - el conducir de metáforas, de ironies y del exacerbamento de imágenes - por cuál se prepone el narrador construir su salvación . El propósito es analizar el uso de el proyecto del alegórico y el irónico previstos por el autor en la intención de descubrir pues tales procedimientos contribuyen para crear un texto ese desestabiliza el carácter malsano de la melancolía. Puede propagar lengua creativa de tal manera cuánto otras maneras de la representación de eso las marcas del arte utilizan. Más allá de este traz poético, la contribución de este trabajo también constituye: para componer una escena en la cual el teatralidade de la lengua de Dom Casmurro constituye drama y no tragedia. Después de la pista de los conceptos de los benjaminianas de la melancolía, alegoria, metalenguaje la ironía, vimos que éstos disalign de la voluntad que los estatutos se estabilizaron de las figuras del retórico para consistir mientras que las estrategias de los discursivas. Subyacente a este proceso es posible percibir el flash del rescate de la escritura melancholic, visto bajo luz del saturnine de una mirada que si desea alegórico, en la misma incandescencia de la risa del fáustico

Referenciação anáforica: um estudo de produções textuais no ensino fundamental

Esta pesquisa trata da referenciação ocorrida pelas anáforas diretas e indire-tas em produções textuais de alunos do Ensino Fundamental. Como elemento pri-mordial de nossas investigações, ancoramo-nos na referenciação e estudos da aná-fora no âmbito da Lingüística Textual como fazem Mondada e Dubois (2003); KOCH (2003) e Marcuschi (2005). De acordo com estudos já realizados e envolvidos com a temática, defendemos a noção de referenciação como sendo um processo de cons-trução de sentidos que se realiza no discurso, isto é, em atividades interativas entre os sujeitos exigindo, portanto, uma ação colaborativa entre os interlocutores. Nesse aspecto, a interação precisa existir, visto que os referentes de um termo anafórico nem sempre se encontram na superfície textual; muitas vezes, são construídos a partir de uma representação ou modelo mental disponível na memória discursiva. Nessa perspectiva, procuramos analisar o processo de referenciação construído a partir de anáforas diretas e indiretas identificando as estratégias utilizadas em textos produzidos em situações de sala de aula. Dizemos que a anáfora direta, de modo geral, é definida pela relação de correferencialidade estabelecida entre o anafórico e seu antecedente, enquanto a anáfora indireta é vista como uma estratégia referenci-al de associação, sem referente explícito, tendo que se esforçar para estabelecer a continuidade referencial no texto e para isso utiliza-se da ativação (referenciação mental) de elementos novos e não de uma reativação de referentes já conhecidos, o que constitui um processo de referenciação implícita. Para alcançarmos nosso obje-tivo, utilizamos como subsídio teórico, o processo de informação na memória cogni-tiva, a referência e estudos da anáfora no âmbito da Lingüística Textual. O corpus deste trabalho constitui-se de sessenta textos escritos por alunos de 7ª série (atual 8º ano), dentre os quais analisamos o processo de referenciação ocasionado pelas anáforas diretas e indiretas em doze desses textos. Considerando os dados analisa-dos, dentre os tipos de anáforas estudados, constatamos que houve preponderância no uso das anáforas diretas, destacando-se entre elas a anáfora direta correferencial co-significativa, com maior manifestação no uso das retomadas diretas por pronomi-nalização

Referência ao discurso do outro: uma análise de problemas de relações de sentido entre discurso citado direto e indireto citante no gênero monográfico

In this study we investigate the reference to other s discourse done it through the resource of direct cited discourse at background section in monographic texts produced by university students at the last phase of final work in their graduate Letras course. This work is guided in cited/related discourse studies in Bakhtin (2004), Authier-Revuz (1990, 1998, 2004), Maingueneau (1996, 2002), Charaudeau and Maingueneau (2004); in genre approaches developed by Bakhtin (2000); Maingueneau (1996, 2002); socio-discursive interaction (BRONCKART, 1999, 2003; SCHNEUWLY, 2004; DOLZ e SCHNEUWLY, 2004) and Bazerman (2005); and also in presuppositions of Textual Linguistics presented by Charrolles (1988), Van Dijk (1997), Beaugrande and Dressier (1981), Koch and Travaglia (1993, 1995), Koch (2002, 2004) and Val (2000, 2004). We have established as aims to analyze and interpret meaning relations problems in how to articulate direct cited discourse with citing discourse and at the same time explain semantic implications that comes from that articulation that compromise text meaning, at background section in that monographic genre. The analysis, by qualitative and quantitative basis in eleven monographic works that form our corpus, gave us the opportunity to achieve and see that meaning relationships in the articulation of direct cited discourse with citing discourse show problems that may be categorized into three different groups: problems related to meaning relationships with citing discourse that comes before it, problems of meaning relationships with citing discourse that comes after it, and problems with of meaning relationships with citing discourse that come before it and at the same time with citing discourse that comes after it (i.e. in relation to both). These analysis also allow us assert that, these problems, just because they occur frequently, they affect the micro level text coherence, and they also compromise the text global meaning. The results show that students at Letras Course, even in the ending process of their course do not show the real domain in relation to some ways of direct cited discourse organization and working, and also how the ideas articulation work in the construction of relations between direct cited discourse and the citing discourse that can turn those students able to produce a text that enhance acceptable patterns

Do picadeiro ao céu : o riso no teatro de Ariano Suassuna

The analysis of this work seeks to investigate the meaning of the laughter in the paraibano writer Ariano Suassuna s armorial theater. The study departs, firstly, from an argumentation which centers its content in the theory of the many theoreticians of the question: Henri Bergson, Vladimir Propp, Jolles, Freud, Bakhtin. The essence of the laughter in Suassuna and its esthetic relations are commented, because those elements are responsible for the strength of the literary text. On the condition of scholar about Esthetic and Art History, Suassuna always puts the methods of the estheticism in favor of the loud laughter bearing in mind that it is a source of improvisation, i.e., it may have many senses depending on what it is pretended to transmit to the reader/viewer. The laughter is a mask which is changed to each new situation, representing that way own human condition. Because the theater is an art subjected to recreation, the laughter also is. And because it is a great party where other arts (the dance, the music, mamulengo e the bumba-meu-boi) are present, united to compose a confluent and hybrid language, the meaning of hilarity during the popular celebrations is studied mainly those that happened in Medieval Europe. Thus, in the second part, the basis of the research is the Russian Mikhail Bakhtin s theory that helps to link Suassuna s laughter to the popular party, showing the language used in them and the jokes that give life to the joy of the folk. Soon after, the importance of Suassuna s laughter to the Brazilian Culture, is examined making a reflection about its function at the sociocultural context of the country

Aí marcador de especificidade de SN indefinidos: um estudo funcionalista com implicações para o ensino

This body of work aims to describe and analyze the behavior of the Aí specificity marker of indefinite Noun Phrases (NP), one of the many functions this linguistic item is developing in contemporary Brazilian Portuguese. From the Functional Linguistic theory perspective, the North American declivity, this project intends to outline the possible grammaticalization trajectory taken by the Aí specificity marker. It will be followed from its function as a spatial deitic up to its integration of indefinite NP, and the action of the fundamental principles of the theory, such as iconicity and informativity, will be observed on the use of this item. Following this, Aí specificity marker behavior will be described in respect to various linguistic and social factors: type of text where the occurrence is encountered, language modality in which the latter is produced, syntactic function developed by the NP specified by Aí , the existence or lack of material intervening between Aí and the NP nuclear noun, informational status of the NP adjugated to Aí , and finally, sex, education and age of the speaker. The occurrence of conversational implicatures will also be verified (GRICE, 1982) within the contexts of Aí specificity marker use. Reflections on the teaching of grammar will be made, as well as on the possibility and validity of working with noun phrase specificity markers in elementary and high school Portuguese language classes. The data used in this research project stem from Corpus Discurso & Gramática A língua falada e escrita na cidade do Natal (FURTADO DA CUNHA, 1998), and from Corpus Discurso & Gramática A língua falada e escrita na cidade do Rio de Janeiro (VOTRE; OLIVEIRA, 1995)

A melancolia em A Asa Esquerda do Anjo

O termo melancolia, como foi mostrado em todo o decorrer do nosso trabalho, principalmente no histórico da melancolia, é um termo, por excelência, escorregadio. De várias facetas, a melancolia pode vir a designar desde patologia, passando por inspiração filosófica, para desaguar num modo de ver a vida, como bem nos coloca Denílson Lopes em seu livro Nós os mortos: melancolia e neo Barroco (1999). A Asa Esquerda do Anjo (LUFT, 2005) é uma obra que já nos acompanha há algum tempo, pois desde a graduação estudamo-la. Em torno da protagonista, chamada de Gisela pela mãe e Guísela pela avó, circula toda a trama desse romance moderno. Tentamos visualizá-la nos três capítulos da dissertação. No primeiro, focalizamos a obra sob o aspecto de uma possível estética da melancolia, tendo por base teórica Marie Claude Lambotte (2000). Depois, elaboramos algumas linhas sobre as perdas da protagonista que do enredo emergem. Por fim, demonstramos Gisela pelo aspecto de múltiplas faces. Sabendo que uma obra literária é infinita em seus significados, cremos que A Asa Esquerda do Anjo (2005) suscita outras nuances. Isto nos dá a certeza que não é um texto acabado, finalizado. Estas nuances poderão ser estudadas, pesquisadas em uma outra oportunidade por nós ou por outros leitores de Luft. A fim de estudar a melancolia em Gisela, fundamentamos nossa dissertação com os estudos de Freud (1980) a respeito do tema. Este faz uma análise comparando a melancolia ao luto, para poder chegar, assim, a um denominador comum, já que o termo é flexível em seus significados. Freud e alguns outros autores no campo, tais como, Bataille (1980); Benjamin (1984); Erickson (2003); Klein (1971); Kristeva (1989); Lino (2004); Peres (2003); Santos (2005), Scliar (2003), pois, nos auxiliaram em nossas pesquisas e direcionaram melhor o nosso olhar sobre a obra. Acreditamos ter alcançado nosso objetivo estudar a obra A Asa Esquerda do Anjo (LLUFT, 2005) pelo foco da melancolia e suas nuances. Gisela é um personagem inacabado. Em seu discurso ela deixa isto bem nítido. Assim também, não buscamos respostas prontas, com teor de acabamento. O fechar da história está nas mãos do leitor. Mas, à medida que reiniciamos nova leitura, percebemos algo novo, que pode ser extraído da obra, do personagem, da trama. É neste abrir/fechar que a própria Gisela sussurra: Vem, vem, vem.... Ao chamar a todos nós, chama também para um novo caminhar com ela, em suas perturbações subjetivas e sua ausência de respostas. Ao aceitarmos este convite, fica difícil retornarmos pelo mesmo caminho de antes. É necessário, então, junto com este ser de papel, rever nossos passos, para, enfim, redimensionarmos nossa escrita acerca de nós mesmos e (por que não dizer?) do mundo que nos circunda

A doença de criar passarinhos: a lírica humanizadora de João Cabral de Melo Neto

João Cabral de Melo Neto n a jamais aimé les vers sentimentaux et prolixes venus de la tradition romantique. C est pour ça que son uvre a un discours objectif, rigoureusement elaboré e elle comporte certaines influences concretistes ça explique pourquoi l auteur est connu comme l ingénieur de la langage. En verité, le poète même dissait qu il était un homme froid et rationnel. La critique a assidument analysé la matière logique et le rigeuer formel de l uvre de Cabral de Melo. Pourtant, dans ce travail nous analysons les poèmes dont le sentiments humaines sont la mtière principal de l élaboration de l experiènce esthétique. La poèsie de João Cabral n est pas simple verbalisme formel, ni un uvre sens vie, car les objects concrètes et la langage objectif n empêchent pas qui le sujet décrit avec émotion les scènes presents dans les poèmes. Nous travaillons avec la hypothèse de que le poète a une attitude trop humaine quand il parle de l experience culturel et de l experience de la vie dans le Nord-est brésilien. Les unités témathiques de ce travail, pourtant, montrent la représentation du Nord-est dans la poèsie de João Cabral et examinent aussi le sentiment qu il sent par la memoire culturel de sa région. Parmi les aspects qui composent sa lyrique humaine nous citons la personification constant de les paysages du Nord-est le poète ne veux pas faire une décrition tophographique de la région parce que les places ont un valeuer sentimentel pour lui; au moyen d un discours erotique, Cabral represente les desirs et les intints humaines de sa terre; ensuite, il semble que le poète est enchanté et enveloppé avec certains elemets culturels de sa région, come l hamac, la littérature oral et la musique régional; la preoccupation avec la population explorée et la denonciation de la condition miserable dans le Nord-est brésilien confirment aussi la humanité présent dans son uvre; finalment, la récordation de l enfance et la nostalgie du temps passé sont, pour le poète, un possibilité qui peut aider dans la formation humaine de la population

A poesia ibero-americana de José de Anchieta

El poeta José de Anchieta, a través de sus poesías, contribuyó para la formación de la literatura en suelo brasileño. Con eso, él proporcionó un encuentro entre los dos mundos lo Nuevo y lo Viejo, América y Europa representados en la unión entre los pares antagónicos que son constantes en la poética anchietana, como lo sagrado y lo profano, la muerte y la vida, lo simple y lo erudito. Su poética traduce, por lo tanto, las huellas de la antropofagia cultural, en que el indio y el blanco son uno sólo; el pagano y el cristiano, juntos, caminan para el centro de sus ideologías concebidas por la catequesis y por el popular. En esa amalgama entre las culturas, él construye un nuevo código cultural-lingüístico-literario, formando una nueva identidad para la tierra brasileña, abriendo las puertas para el barroco. Sus poemas están en cuatro lenguas: portugués, tupí, latín y español. Y de ese conjunto, nuestra disertación analiza el corpus en lengua española, que en el suelo americano deja de ser española y se vuelve ibero-americana. Como fuentes de estudio crítico-teórico, nos basamos, como ejemplos, en las obras de Haroldo de Campos, Severo Sarduy, Eugênio D Ors, Lezama Lima, Oswald de Andrade, Alfredo Bosi, Massaud Moisés. Así, esta disertación muestra, por el medio de la poesía iberoamericana de José de Anchieta el rasgo del inicio de nuestra literatura así como del barroco americano y, además, conjuga su poesía dentro del espacio de los Clásicos una vez que se comunica con estos desde el proceso de su producción. En esa intercomunicación, José de Anchieta promueve una apertura para la consciencia poética que hace parte de los grandes poetas de la Literatura Universal. Él une el Brasil, con sus matas vírgenes, con su primitivismo, al Mundo, con su censura desmedida ante la visión del Paraíso

Vinicius de Moraes e Shelley: um exercício de desleitura .

Using Harold Bloom s methodology known as dialectical revisionism we undertake the task of misreading of Vinícius de Moraes (1913- 1980) poems Poética (1950), Operário em construção (1955), Poética II (1960) against Percy Bysshe Shelley (1792-1822) and his poem A Song: Men of England, suggesting that the Brazilian poet trammeled a battle with his poetic triad, in which Operário em Construção is Vinicius s main weapon. It is suggested here that each one of Vinícius´poem represents a step of what Bloom calls anxiety of influence . The misreading proposed confronts the themes and the imagery of the poems, arguing that Shelley and Vinícius are similar when they approach exploitation and working class consciousness according to the Dialectic Marxism pattern, and that Vinícius´s poem was not only inspired by Shelley s, but using one of the strategies suggested by Bloom, he corrects the ideological flaws of Shelley s poem. It is also discussed the possibility that both poems are inspired by Plato´s (428-7 a 348-7 a.C.) allegory of the cave, his concept of justice and the moral construction of the polis defended in A República. Thus, considering the process of misreading, these five poems constitute what Bloom calls a family romance , which is characterizes the phenomenon of melancholy of creativity

A interculturalidade no cinema: um estudo da legendagem e da dublagem brasileiras em um filme francês contemporâneo

In this research we present a study of cultural aspects in dubbed and subtitled films. As a case study, we chose to compare the original French version of "Le fabuleux destin d'Amelie Poulain" with both the subtitled and the dubbed versions in Portuguese, with focus on the interaction between the French and the Brazilian cultures. First we considered that (i) the translation process interferes on the perception of cultural relationships; and that (ii) dubbing and subtitling are two methods of translation that result in distinct perceptions from the spectator. Then, we adopted the translation interpretative theory (Seleskovicth; Lederer, 2001; Deslile, 1980) as the general theoretical framework, since it emphasizes the extralinguistic equivalence on the translation process. Furthermore, we based this research on three analytical procedures, which are: the four-step translating operation, the contrastive perception and a translation's typology based on Vinay and Dalbernet's linguistic procedures (Srpová, 1991, 1995, 2004). We extracted forty-six culture-related elements from the film and identified those belonging to the French ethno-universe. Then, the elements were classified with respect to a theoretical typology, based on concepts found in the Ethnography of Communication and a general typology, based on five general thematic groups, defined by the corpus. The results showed that both Brazilian versions tend to preserve those culture-related elements by using lexical loan and literal translation. The visual context, in its association with the linguistic procedures in both Brazilian versions, was also observed as an important element to the comprehension of the culture-related elements as they are considered in the French culture. As a general observation, the perception of culture-related elements in the film seems effectively be oriented by the translation methods

Um olho torto na literatura de Graciliano Ramos

This dissertation analyses, within a psychoanalytical e literary perspective, the enigma of blindness in Graciliano Ramos s work. The approach takes into account, mainly, the narratives of Histórias de Alexandre (Alexandre s tales) and Infância (Childhood memories) as both books speak of the same theme: the injured eye. The writer s work is scourged so that a broaden symbolism regarding the hurt eye can be found. The subject is discussed from three significant elements: fragmentation, helplessness and melancholy; all these form the creative aesthetic of Graciliano, merging into a single object. Fragmentation representing the internal shattered world of his characters, which is reflected in the environment; helplessness, directly related to feelings of rejection; and melancholy, characterized by a strong feeling of emptiness. The theme of isolation and loss is discussed based on Mourning and melancholy, by Freud, and other theorizers. There is also a brief dialogue with the Romantic and philosophical theories, which tries to explain the melancholic condition in the individual before moments of distress. Such theories are the support for the understanding of the helplessness of the hero in Graciliano Ramos´s literature and for the assumption that the blindness in the mistreated boy of the book Infância could be the language of the traumatic aspect that colors the entire text of the writer. As matter of fact, it constitutes in the lost object represented in the anguish of the author s characters

O significado dos símbolos e dos signos de noites do sertão

Les symboles et les signes de Noites do Sertão, de João Guimarães Rosa, contient l étude d une édition de cette ouvrage, publié par Livraria José Olímpio Editora, en 1975. Un éditeur arrêtée. Notre priorité c est montrer au lecteur les dégradations résultants d altérations ou d omissions qu on vérifie dans les publications postérieurs; d une manière spécifique, les éditions mais récents. Dans le primiere chapitre, notre recherche privilégie l analyse et l explication de las inscirtions qui sons enregistré dans la partie exterior, ou dans la couverture de ce livre. Le deuxième chapitre traite des réflexions sur ce qui se réfère au revers de la couverture, dans le côté gauche: les énigmes dont l auteur utilise avec l intention de bien idiquer au lecteur orientations pour envisager les aspects des narratives. Combien, nous méditerons ici sur la signification des épigraphes de cette ouvrage; sur les noms des personnages les plus importants et sur la connexion de ce livre avec autres textes littéraires. Dans le troisième chapitre nous explicitons la rélation de contiguïté avec cette ouvrage et le platonisme. O Chapitre quatre s occupe d étudier toutes cettes symboles vérifier ici sur la pérspective de la vision Junguienne (C.G.Jung); et dans le cinq, analysons les relations possibles de cette ouvrage avec autres livres du même écriteur. Finalement, nous présentons un vocabulaire qui est très importants pour la compréhention des mots mais compliqué dans ce texte écrit pour João Guimarães Rosa

As Filhas do Arco-Íris, de Eulício Farias de Lacerda : mitos, lendas e contos populares como elementos estruturantes do romance

The corpus of this work constitutes an analysis the literary work As Filhas do Arco-Íris, by Eulício Farias de Lacerda, considering object of study myths, legends and popular stories as estruturant elements of the romance. The unchainment of this reading considers aspects of the oral tradition as starting point for the rupture tradition. In that perspective, it became fundamental to describe aspects of the popular culture that consolidated the Brazilian Literature during the 20th century. Like this, it was necessary to understand the development of oral elements and the structuring of the folk-tales, pointing out that As Filhas do Arco-Íris was built in a especial way with regionalist characteristics, following the parameters of the romances published among the years 1930 and 1950. In the researched work, it was noticed a narrative that gathers stories, legends, myths, proverbs and oral locutions. In this, it reveals that the Brazilian literary production grew in aesthetics and thematic. Like this, As Filhas do Arco-Íris is an exercise of the experience regionalist inserted in the contemporary novel, because even with your first publication in 1980, the narrative is configured to the molds of a Romance de 30